| Project/Area Number |
23820035
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| Research Category |
Grant-in-Aid for Research Activity Start-up
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| Allocation Type | Single-year Grants |
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| Research Field |
Study of the arts/History of the arts/Arts in general
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| Research Institution | Kyushu University |
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Principal Investigator |
NISHIDA Hiroko 九州大学, 芸術工学研究院, 助教 (30545108)
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| Project Period (FY) |
2011 – 2012
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| Project Status |
Completed (Fiscal Year 2012)
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| Budget Amount *help |
¥2,730,000 (Direct Cost: ¥2,100,000、Indirect Cost: ¥630,000)
Fiscal Year 2012: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2011: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
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| Keywords | 音楽学 / 音楽史 / 音楽理論 / 音楽美学 / 音楽分析 / 作品解釈 / 演奏 / ベートーヴェン / ドイツ / オーストリア / エディション |
|---|
| Research Abstract |
This study examines the relationship between the interpretations of artworks and aspects of their practical performances, such as fingering, phrasing, and so on, focusing on Beethoven’s last few piano sonatas that have been regarded as abstruse. By regarding the interpretations of the sonatas by Heinrich Schenker, who has been considered a typical advocate of the Urtext in preceding studies, this study aims to recontextualize the background regarding this theme and historicize the standpoint of the so-called practical editions in the 19th century.
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